Consequently, the same modernist ideas prevailed across the globe for a long period of time and even in the post Great War II period the same ideologies prevailed within the domain of cultural and artistic activism in different parts of the world, influencing artists all over the world. The world of film-making, in specific remained under the influence of Hollywood tradition but the experimental techniques and neo-classical films showed the world that great films can also be made by not following traditional Hollywood traditions.
The tradition of Indian film making, and on a broader canvas, the world, came across a new experience of filmmaking through the genius of Satyajit Ray. On one hand, the great Indian director was interesting in fusing the Western techniques with Indian traditions and on the other, by infusing both these techniques, he aimed at reflecting over aesthetics of life from the perspectives of common people. What is mundane, commonplace and apparently does not have any special layers of interpretation, Ray, with his genius, and empowered with artistic observation, has attempted to provide those simpletons with identity of universal importance. Ray’s mastery can most conspicuously be observed through the Apu trilogy that acclaimed huge international response irrespective of the fact that his depiction of common people’s life is focused over tradition, culture and life of people belonging to a particular region, however, the humanistic approach of Ray was capable of providing these sentiments a scope of universal interpretation.
Ray’s Apu trilogy comprises three films, namely: Pather Panchali (1955), Aparajito (The Unvanquished) (1956) and The World of Apu (Apur Sansar) (1959). Each of the three films has provided comprehensive understanding of three different phases of life of an individual, the childhood, adolescence and his maturity through proper realization of emotions of himself as well as of the people around him. In the book, Our